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Capsule Review: Rabbit-Proof Fence (2002)

Set in Western Australia in 1931, Rabbit-Proof Fence concerns the Aborigine Act – an unspeakably racist law which allowed the government to remove half-caste children from their parents. This true story follows sisters Molly and Daisy (14 and 10 years old) , with their cousin Gracie (8), as they attempt to walk 1500 miles from their Native Settlement Camp back to their home in the Jigalong Community. It’s a harrowing tale, as the young girls barely escape recapture at every turn and find surprising sympathy from the people they meet along the way. Acting is sometimes a little shaky from the young leads – which is to be expected – but Kenneth Branagh puts in a wonderfully villainous turn as A.O. Neville, the “Chief Protector of Aborigines”. The final shots – featuring the real life Molly and Daisy – are particularly affecting. Director Phillip Noyce is well known for Hollywood efforts like Sliver and Patriot Games, but here his direction is nuanced and subtle – using first person and steadicam shots liberally to suck the audience into the action.

Capsule Review: Rabbit-Proof Fence (2002)

Set in Western Australia in 1931, Rabbit-Proof Fence concerns the Aborigine Act – an unspeakably racist law which allowed the government to remove half-caste children from their parents. This true story follows sisters Molly and Daisy (14 and 10 years old) , with their cousin Gracie (8), as they attempt to walk 1500 miles from their Native Settlement Camp back to their home in the Jigalong Community. It’s a harrowing tale, as the young girls barely escape recapture at every turn and find surprising sympathy from the people they meet along the way. Acting is sometimes a little shaky from the young leads – which is to be expected – but Kenneth Branagh puts in a wonderfully villainous turn as A.O. Neville, the “Chief Protector of Aborigines”. The final shots – featuring the real life Molly and Daisy – are particularly affecting. Director Phillip Noyce is well known for Hollywood efforts like Sliver and Patriot Games, but here his direction is nuanced and subtle – using first person and steadicam shots liberally to suck the audience into the action.

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